document_title: Full Metal Jacket

question_text: who played the joker in full metal jacket

text: Full Metal Jacket

text: Plot[edit]

text: During the Vietnam War, a group of new U.S. Marine Corps recruits arrive at Parris Island, South Carolina, for basic training. After having their heads shaved, they meet Senior Drill Instructor Gunnery Sergeant Hartman, who employs forceful methods to turn the recruits into combat-ready Marines. Among the recruits are Privates "Joker", "Cowboy", and the overweight, bumbling Leonard Lawrence, who earns the nickname "Gomer Pyle" after incurring Hartman's wrath.

text: Unresponsive to Hartman's harsh discipline, Pyle is eventually assigned to Joker's squad. Pyle improves with Joker's help, but his progress halts when Hartman discovers a contraband jelly doughnut in Pyle's foot locker. Believing the recruits have failed to improve Pyle, Hartman adopts a collective punishment policy: every mistake Pyle makes will earn punishment for the rest of the platoon, with Pyle being spared. In retaliation for Pyle's failures, the platoon hazes him with a blanket party, restraining him in his bunk while beating him with bars of soap wrapped in towels and used like blackjacks. After this incident, Pyle reinvents himself as a model Marine. This impresses Hartman but worries Joker, who recognizes signs of mental breakdown in Pyle, such as him talking to his M14 rifle.

text: Following their graduation, the recruits receive their Military Occupational Specialty assignments; Joker is assigned to Basic Military Journalism, while most of the others (including Cowboy and Pyle) are assigned to Infantry. During the platoon's final night on Parris Island, Joker discovers Pyle, who is suffering from severe mental breakdown, in the bathroom, loading his rifle with live ammunition. Joker attempts to calm Pyle, who executes drill commands and loudly recites the Rifleman's Creed. The noise awakens the platoon as well as Hartman, who angrily confronts Pyle and orders him to surrender the rifle. Pyle shoots Hartman dead and then kills himself.

text: In January 1968, Joker, now a sergeant, is a war correspondent in South Vietnam for Stars and Stripes with Private First Class Rafterman, a combat photographer. Rafterman wants to go into combat, as Joker claims he has done. At the Marine base, Joker is mocked for his lack of the thousand-yard stare, indicating his lack of war experience. They are interrupted by the start of the Tet Offensive as the North Vietnamese Army unsuccessfully attempts to overrun the base.

text: The following day, the journalism staff is briefed about enemy attacks throughout South Vietnam. Joker is sent to Phu Bai, accompanied by Rafterman. They meet the Lusthog Squad, where Cowboy is now a sergeant. Joker accompanies the squad during the Battle of Huế, where platoon commander "Touchdown" is killed by the enemy. After the Marines declare the area secure, a team of American news journalists and reporters enters Huế and interviews various Marines about their experiences in Vietnam and their opinions about the war.

text: While patrolling Huế, Crazy Earl, the squad leader, is killed by a booby trap, leaving Cowboy in command. The squad becomes lost and Cowboy orders Eightball to scout the area. A Viet Cong sniper wounds Eightball and the squad medic, Doc Jay, is also wounded while attempting to save him against orders. Cowboy learns that tank support is unavailable and orders the team to prepare for withdrawal. The squad's machine gunner, Animal Mother, disobeys Cowboy and attempts to save his comrades. He discovers there is only one sniper, but Doc Jay and Eightball are killed when Doc Jay attempts to indicate the sniper's location. While maneuvering toward the sniper, Cowboy is shot and killed.

text: Animal Mother assumes command of the squad and leads an attack on the sniper. Joker discovers the sniper, a teenaged girl, and attempts to shoot her, but his rifle jams and alerts her to his presence. Rafterman shoots the sniper, mortally wounding her. As the squad converges, the sniper begs for death, prompting an argument about whether or not to kill her. Animal Mother decides to allow a mercy killing only if Joker performs it. After some hesitation, Joker shoots her. The Marines congratulate him on his kill as Joker stares into the distance, displaying the thousand-yard stare. The Marines march toward their camp, singing the "Mickey Mouse March". Joker states that despite being "in a world of shit", he is glad to be alive and no longer afraid.

text: Cast[edit]

text:
Matthew Modine as Private/Sergeant James T. "Joker" Davis
Vincent D'Onofrio as Private Leonard "Gomer Pyle" Lawrence, an overweight, slow-witted recruit who becomes the focus of Hartman's attention. D'Onofrio was required to gain 70 pounds (32 kg), which broke the record for the largest weight gained for a role, set by Robert De Niro for Raging Bull.[6][7]
R. Lee Ermey as Gunnery Sergeant Hartman, a Parris Island drill instructor; Ermey served as a U.S. Marine drill instructor during the Vietnam War and used this experience to ad lib much of his dialogue.[8][full citation needed]
Arliss Howard as Private/Sergeant Robert "Cowboy" Evans
Adam Baldwin as Sergeant "Animal Mother"
Dorian Harewood as Corporal "Eightball"
Kevyn Major Howard as Private First Class "Rafterman"
Ed O'Ross as Lieutenant Walter J. "Touchdown" Schinoski
John Terry as Lieutenant Lockhart
Bruce Boa as Marine Corps Colonel (at massacre site)
Kieron Jecchinis as Sergeant "Crazy Earl"
John Stafford as Doc Jay
Tim Colceri as a helicopter door gunner; he was initially cast to play Hartman, a role which ultimately went to Ermey.[8][full citation needed]
Peter Edmund as Private "Snowball" Brown

text: Production[edit]

text: Development[edit]

text: Kubrick contacted Michael Herr, author of the Vietnam War memoir Dispatches (1977), in the spring of 1980 to discuss working on a film about the Holocaust, but he eventually discarded that in favor of a film about the Vietnam War.[9] They met in England, and the director told Herr that he wanted to do a war film but had yet to find a story to adapt.[10] Kubrick discovered Gustav Hasford's novel The Short-Timers (1979) while reading the Virginia Kirkus Review.[11] Herr received it in bound galleys and thought that it was a masterpiece.[10] In 1982, Kubrick read the novel twice, concluding that it "was a unique, absolutely wonderful book", and decided, along with Herr,[9] to adapt it for his next film.[11] According to Kubrick, he was drawn to the book's dialogue, finding it "almost poetic in its carved-out, stark quality".[11] In 1983, Kubrick began conducting research for the film, watching past footage and documentaries, reading Vietnamese newspapers on microfilm from the Library of Congress, and studying hundreds of photographs from the era.[12] Initially, Herr was not interested in revisiting his Vietnam War experiences, and Kubrick spent three years persuading him to participate in what the author describes as "a single phone call lasting three years, with interruptions."[9]

text: In 1985, Kubrick contacted Hasford to work on the screenplay with him and Herr,[10] and often talked to Hasford on the phone three to four times a week, for hours at a time. [13] Kubrick had already written a detailed treatment,[10] and Kubrick and Herr got together at Kubrick's home every day, breaking down the treatment into scenes. From that, Herr wrote the first draft.[10] The filmmaker worried that the book's title might be misread by audiences as referring to people who only did half a day's work and changed it to Full Metal Jacket after discovering the phrase while going through a gun catalogue.[10] After the first draft was completed, Kubrick phoned in his orders, and Hasford and Herr mailed their submissions to him.[14] Kubrick read and edited them, and then the team repeated the process. Neither Hasford nor Herr knew how much he had contributed to the screenplay, which led to a dispute over the final credits.[14] Hasford remembers, "We were like guys on an assembly line in the car factory. I was putting on one widget and Michael was putting on another widget and Stanley was the only one who knew that this was going to end up being a car."[14] Herr says the director was not interested in making an anti-war film, but "he wanted to show what war is like."[9]

text: At some point, Kubrick wanted to meet Hasford in person, but Herr advised against this, describing The Short-Timers author as a "scary man" and believing he and Kubrick would not "get on".[9] Nonetheless, Kubrick insisted, and they all met at Kubrick's house in England for dinner. It did not go well, and Hasford did not meet with Kubrick again.[9]

text: Casting[edit]

text: Through Warner Bros., Kubrick advertised a national casting search in the United States and Canada. The director used videotape to audition actors and received over 3,000 submissions. His staff screened all of the tapes, leaving 800 of them for Kubrick to review personally.[10]:461

text: Former U.S. Marine Drill Instructor Ermey, originally hired as a technical advisor, asked Kubrick if he could audition for the role of Hartman. Kubrick had seen Ermey's portrayal of Drill Instructor Staff Sergeant Loyce in The Boys in Company C (1978) and told the Marine that he was not vicious enough to play the character. Ermey improvised insulting dialogue against a group of Royal Marines who were being considered for the part of background Marines, to demonstrate his ability to play the character, as well as to show how a Drill Instructor goes about breaking down the individuality of new recruits.[10]:462 Upon viewing the videotape of these sessions, Kubrick gave Ermey the role, realizing he "was a genius for this part."[12] Kubrick also incorporated the 250-page transcript of Ermey's rants into the script.[10]:462–463 Ermey's experience as a Drill Instructor during the Vietnam era proved invaluable. Kubrick estimated that Ermey wrote 50% of his own dialogue, especially the insults.[15]

text: While Ermey practiced his lines in a rehearsal room, a production assistant would throw tennis balls and oranges at him. Ermey had to catch the ball and throw it back as quickly as possible, while at the same time saying his lines as fast as he could. Any hesitation, slur, or missed line would necessitate starting over. Twenty error-free runs were required. "[He] was my drill instructor", Ermey said of the production assistant.[10]:463

text: The original casting plan envisaged Anthony Michael Hall starring as Private Joker. After eight months of negotiations, a deal between Kubrick and Hall fell through.[16] Kubrick offered Bruce Willis a role, but the actor had to turn it down because he was to start filming of the first six episodes of his TV series Moonlighting.[17]

text: Vincent D'Onofrio heard of the auditions for the film from Matthew Modine. Using a rented video camera and dressed in army fatigues, D'Onofrio recorded his audition for the part of Private Pyle. Despite Kubrick's saying that Pyle was "the hardest part to cast in the whole movie", he quickly responded to D'Onofrio, telling the actor he had won the part.[10]:465

text: Filming[edit]

text: Kubrick shot the film in England: in Cambridgeshire, on the Norfolk Broads, and at the former Millennium Mills, Beckton Gas Works, Newham (east London) and the Isle of Dogs.[18] A former RAF and then British Army base, Bassingbourn Barracks doubled as the Parris Island Marine boot camp.[12] A British Army rifle range near Barton, outside Cambridge, was used in the scene where Hartman congratulates Private Pyle for his shooting skills. Kubrick worked from still photographs of Huế, taken in 1968, and found an area owned by British Gas that closely resembled it and was scheduled to be demolished. The disused Beckton Gas Works, a few miles from central London, were filmed to represent Huế after attacks.[15] Kubrick had buildings blown up, and the film's art director used a wrecking ball to knock specific holes in certain buildings over the course of two months.[15] Originally, Kubrick had a plastic replica jungle flown in from California, but once he looked at it he was reported to have said, "I don't like it. Get rid of it".[19] The open country was filmed in the Cliffe marshes,[20] and along the River Thames, supplemented with 200 imported Spanish palm trees[11] and 100,000 plastic tropical plants from Hong Kong.[15]

text: Kubrick acquired four M41 tanks from a Belgian army colonel (a fan)[citation needed] and Westland Wessex helicopters painted Marine green to represent Marine Corps Sikorsky H-34 Choctaw helicopters. Although the Wessex was a licensed derivative of the Sikorsky H-34, the Wessex substituted two gas turbine engines for the H-34's radial (piston) engine. This resulted in a much longer and less rounded nose than that of the Vietnam era H-34. Kubrick also obtained a selection of rifles, M79 grenade launchers, and M60 machine guns from a licensed weapons dealer.[12]

text: Modine described the shoot as difficult: Beckton Gas Works was a toxic and environmental nightmare for the entire film crew. Asbestos and hundreds of other chemicals poisoned the earth and air. Modine documents details of shooting at Beckton in his book, Full Metal Jacket Diary (2005). During the "Boot Camp" sequence of the film, Modine and the other recruits had to endure the rigors of Marine Corps training, including having Ermey yelling at them for 10 hours a day during the shooting of the Parris Island scenes. To ensure the actors' reactions to Ermey were as authentic and fresh as possible, Ermey and the recruits did not rehearse together.[10]:468 For film continuity, each recruit had to have his head shaved once a week.[21]

text: At one point during filming, Ermey had a car accident, broke all of his ribs on one side, and was out for four-and-half months.[15]

text: Cowboy's death scene shows a building in the background that resembles the famous alien monolith in Kubrick's 2001: A Space Odyssey (1968). Kubrick described the resemblance as an "extraordinary accident".[15]

text: During filming, Hasford contemplated taking legal action over the writing credits. Originally, the filmmakers intended for Hasford to receive an "additional dialogue" credit, but he fought for and eventually received full credit.[14] The writer took two friends and visited the set dressed as extras, only to be mistaken by a crew member for Herr when Hasford identified himself as the writer whose work the film was based on.[13]

text: Kubrick's daughter Vivian—who appears uncredited as a news-camera operator at the mass grave—shadowed the filming of Full Metal Jacket. She shot 18 hours of behind-the-scenes footage for a potential "making-of" documentary similar to her earlier film documentary on Kubrick's The Shining (1980). In this case, she did not complete such a documentary. Snippets of her work can be seen in the documentary Stanley Kubrick's Boxes (2008).

text: Themes[edit]

text: Compared to Kubrick's other works, the themes of Full Metal Jacket have received little attention from critics and reviewers. Michael Pursell's essay "Full Metal Jacket: The Unravelling of Patriarchy" (1988) was an early, in-depth consideration of the film's two-part structure and its criticism of masculinity, arguing that the film shows "war and pornography as facets of the same system".[22]

text: Most reviews have focused on military brainwashing themes in the boot camp training section of the film, while seeing the latter half of the film as more confusing and disjointed in content. Rita Kempley of The Washington Post wrote, "it's as if they borrowed bits of every war movie to make this eclectic finale."[23] Roger Ebert said, "The movie disintegrates into a series of self-contained set pieces, none of them quite satisfying."[24] Julian Rice, in his book Kubrick's Hope (2008), sees the second part of the film as continuing the psychic journey of Joker in trying to come to grips with human evil.[25]

text: Tony Lucia, in his July 5, 1987, review of Full Metal Jacket for the Reading Eagle, looked at the themes of Kubrick's career, suggesting "the unifying element may be the ordinary man dwarfed by situations too vast and imposing to handle". Lucia specifically refers to the "military mentality" in this film. He said further that the theme covered "a man testing himself against his own limitations", and he concluded: "'Full Metal Jacket' is the latest chapter in an ongoing movie which is not merely a comment on our time or a time past, but on something that reaches beyond."[26]

text: British critic Gilbert Adair wrote: "Kubrick's approach to language has always been reductive and uncompromisingly deterministic in nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all the whims, shades and modulations of personal expression".[27]

text: Michael Herr wrote of his work on the sceenplay: "The substance was single-minded, the old and always serious problem of how you put into a film or a book the living, behaving presence of what Jung called The Shadow, the most accessible of archetypes, and the easiest to experience ... War is the ultimate field of Shadow-activity, where all of its other activities lead you. As they expressed it in Vietnam, 'Yea, though I walk through the Valley of the Shadow of Death, I will fear no Evil, for I am the Evil'."[28]

text: In a 2009 review, Dan Schneider alleged that Kubrick took the idea of a recruit being broken down in boot camp and driven to suicide from the epic film series, The Human Condition.[29]

text: Music[edit]

text: Kubrick's daughter, Vivian Kubrick, under the alias "Abigail Mead", wrote the film's score. According to an interview which appeared in the January 1988 issue of Keyboard Magazine, the film was scored mostly with a Fairlight CMI synthesizer (the then-current Series III edition) and a Synclavier. For the period music, Kubrick went through Billboard's list of Top 100 Hits for each year from 1962–1968 and tried many songs, but "sometimes the dynamic range of the music was too great, and we couldn't work in dialogue."[15]

text:
Johnnie Wright – "Hello Vietnam"
The Dixie Cups – "Chapel of Love"
Sam the Sham & The Pharaohs – "Wooly Bully"
Chris Kenner – "I Like It Like That"
Nancy Sinatra – "These Boots Are Made for Walkin'"
The Trashmen – "Surfin' Bird"
Goldman Band – "Marines' Hymn"
The Rolling Stones – "Paint It Black" (end credits)

text: A single, "Full Metal Jacket (I Wanna Be Your Drill Instructor)", credited to Mead and Nigel Goulding, was released to promote the film. It incorporates Ermey's drill cadences from the film. The single reached number two in the UK pop charts.[30]

text: Release[edit]

text: Box office[edit]

text: Full Metal Jacket received a limited release on June 26, 1987, in 215 theaters.[3] Its opening weekend saw it accrue $2,217,307, an average of $10,313 per theater, ranking it the number 10 film for the June 26–28 weekend.[3] It took a further $2,002,890 for a total of $5,655,225 before entering wide release on July 10, 1987, at 881 theaters—an increase of 666.[3] The July 10–12 weekend saw the film gross $6,079,963, an average of $6,901 per theater, and rank as the number 2 grossing film. Over the next four weeks the film opened in a further 194 theaters to its widest release of 1,075 theaters before closing two weeks later with a total gross of $46,357,676, making it the number 23 highest-grossing film of 1987.[3][31]

text: Home video[edit]

text: The film was released on Blu-ray on October 23, 2007, in the US and other countries.[32] On April 9, 2012, Warner Home Video announced they would release the 25th anniversary edition on Blu-ray on August 7, 2012.[33]

text: Critical reception[edit]

text: Review aggregation website Rotten Tomatoes retrospectively collected reviews to give the film a score of 95% based on reviews from 75 critics and an average rating of 8.3 out of 10. The summary states, "Intense, tightly constructed, and darkly comic at times, Stanley Kubrick's Full Metal Jacket may not boast the most original of themes, but it is exceedingly effective at communicating them."[34][35] Another aggregator Metacritic gave it a score of 76 out of 100, which indicates a "generally favorable" response, based on 19 reviews.[36] Reviewers generally reacted favorably to the cast, Ermey in particular,[37][38] and the film's first act in recruit training,[39][40] but several reviews were critical of the latter part of the film set in Vietnam and what was considered a "muddled" moral message in the finale.[41][24] It ranks #95 on AFI's 100 Years... 100 Thrills.[42]

text: Richard Corliss of Time called the film a "technical knockout", praising "the dialogue's wild, desperate wit; the daring in choosing a desultory skirmish to make a point about war's pointlessness", and "the fine, large performances of almost every actor", believing, at the time, that Ermey and D'Onofrio would receive Oscar nominations. Corliss also appreciated "the Olympian elegance and precision of Kubrick's filmmaking".[37] Empire's Ian Nathan awarded the film 3 out of 5 stars, saying it is "inconsistent" and describing it as "both powerful and frustratingly unengaged". Nathan felt that after leaving the opening act following the recruit training, the film becomes "bereft of purpose", but he summarized his review by calling it a "hardy Kubrickian effort that warms on you with repeated viewings". Nathan also praised Ermey's "staggering performance".[40] Vincent Canby of The New York Times called it "harrowing, beautiful and characteristically eccentric". Canby echoed praise for Ermey, calling him "the film's stunning surprise … he's so good—so obsessed—that you might think he wrote his own lines". Canby also said D'Onofrio's performance should be noted with "admiration", and he called Modine "one of the best, most adaptable young film actors of his generation". Canby concluded: Full Metal Jacket was "a film of immense and very rare imagination".[43]

text: Jim Hall, writing for Film4 in 2010, awarded the film 5 out of 5 stars and added to the praise for Ermey, saying his "performance as the foul-mouthed Hartman is justly celebrated and it's difficult to imagine the film working anything like as effectively without him". The review also preferred the opening training to the later Vietnam sequence, calling it "far more striking than the second and longer section". Film4 commented that the film ends abruptly but felt "it demonstrates just how clear and precise the director's vision could be when he resisted a fatal tendency for indulgence". Film4 concluded: "Full Metal Jacket ranks with Dr. Strangelove as one of Kubrick's very best."[39] Jonathan Rosenbaum of the Chicago Reader called it "Elliptical, full of subtle inner rhymes … and profoundly moving, this is the most tightly crafted Kubrick film since Dr. Strangelove, as well as the most horrific."[44] Variety called the film an "intense, schematic, superbly made" drama "loaded with vivid, outrageously vulgar military vernacular that contributes heavily to the film's power", but felt that it never develops "a particularly strong narrative." The cast performances were all labeled "exceptional" with Modine being singled out as "embodying both what it takes to survive in the war and a certain omniscience."[38] Gilbert Adair, writing in a review for Full Metal Jacket, commented that "Kubrick's approach to language has always been of a reductive and uncompromisingly deterministic nature. He appears to view it as the exclusive product of environmental conditioning, only very marginally influenced by concepts of subjectivity and interiority, by all whims, shades and modulations of personal expression".[45]

text: Not all reviews were positive. Chicago Sun-Times critic Roger Ebert held a dissenting view, calling the film "strangely shapeless" and awarding it 2.5 stars out of 4. Ebert called it "one of the best-looking war movies ever made on sets and stage" but felt this was not enough to compete with the "awesome reality of Platoon, Apocalypse Now and The Deer Hunter." Ebert also criticized the film's second act set in Vietnam, saying the "movie disintegrates into a series of self-contained set pieces, none of them quite satisfying" and concluded that the film's message was "too little and too late", having been done by other Vietnam War films. However, Ebert also gave praise to Ermey and D'Onofrio, saying "these are the two best performances in the movie, which never recovers after they leave the scene."[24] This certain review angered Gene Siskel on their television show At The Movies; he accused Ebert for liking Benji the Hunted (which came out the same week) more than Full Metal Jacket.[46] Their difference in opinion was parodied on the television show The Critic, where Siskel taunts Ebert with "coming from the guy who liked Benji the Hunted!"[47] Time Out London also disliked the film saying "Kubrick's direction is as steely cold and manipulative as the régime it depicts", and felt that the characters were underdeveloped, adding "we never really get to know, let alone care about, the hapless recruits on view."[41]

text: British television channel Channel 4 voted it number 5 on its list of the greatest war films ever made.[48] In 2008, Empire placed Full Metal Jacket number 457 on its list of The 500 Greatest Movies of All Time.[49]

text: Accolades[edit]

text: Full Metal Jacket was nominated for eleven awards worldwide between 1987 and 1989 including an Academy Award for Best Adapted Screenplay,[50][51] two BAFTA Awards for Best Sound and Best Special Effects,[52] and a Golden Globe for Best Supporting Actor for Ermey.[53] Ultimately it won five awards, three from organisations outside of the United States: Italy, Japan, and the United Kingdom. The film won Best Foreign Language Film from the Japanese Academy, Best Producer from the David di Donatello Awards,[54] Director of the Year from the London Critics Circle Film Awards, and Best Director and Best Supporting Actor from the Boston Society of Film Critics Awards, for Kubrick and Ermey respectively.[55] Of the five awards won, four were awarded to Kubrick.

text:
Year
Award
Category
Recipient
Result
Ref.

1987
BAFTA Awards
Best Sound
Nigel Galt, Edward Tise and Andy Nelson
Nominated
[52]

Best Special Effects
John Evans
Nominated
[52]

1988
60th Academy Awards
Best Adapted Screenplay
Stanley Kubrick, Michael Herr and Gustav Hasford
Nominated
[50][51]

Boston Society of Film Critics Awards
Best Director
Stanley Kubrick
Won
[55]

Best Supporting Actor
R. Lee Ermey
Won

David di Donatello Awards
Best Producer – Foreign film
Stanley Kubrick
Won
[54]

Golden Globes
Best Performance by an Actor in a Supporting Role in a Motion Picture
R. Lee Ermey
Nominated
[53]

London Critics Circle Film Awards
Director of the Year
Stanley Kubrick
Won

Writers Guild of America
Best Adapted Screenplay
Stanley Kubrick, Michael Herr, Gustav Hasford
Nominated

1989
Kinema Junpo Awards
Best Foreign Language Film Director
Stanley Kubrick
Won

Awards of the Japanese Academy
Best Foreign Language Film
Stanley Kubrick
Nominated

text: Differences between novel and screenplay[edit]

text: Adaptation of novel to film[edit]

text: Film scholar Greg Jenkins has done a detailed analysis of the adaptation of the novel as a screenplay. The novel is in three parts. The film greatly expands the relatively brief section in Part I, about the boot camp on Parris Island, and essentially discards Part III. This gives the film a twofold structure, telling two largely independent stories connected by the same characters acting in each. Jenkins believes this structure is a development of concepts that Kubrick has had since the 1960s. At that time, Kubrick talked about wanting to explode the usual conventions of narrative structure.[56]

text: Sergeant Hartman (renamed from the book's Gerheim) has an expanded role in the film. In the film, Private Pyle's incompetence is presented as weighing negatively on the rest of the platoon and in the film, unlike the novel, he is the only under-performing recruit. [57] The film omits "Hartman's" disclosure to other troops that he thinks Pyle might be mentally unstable, a "Section 8". In contrast, Hartman praises Pyle, saying that he is "born again hard". Jenkins says that the character of Hartman could not have been portrayed as having a warmer social relationship with the troops, as that would have upset the balance of the film, which depends on the spectacle of ordinary soldiers coming to grips with Hartman as a force of nature embodying a killer culture.[58]

text: Various episodes in the book have been cut from the screenplay or conflated with others. For example, Cowboy's introduction of the "Lusthog Squad" has been both markedly shortened and supplemented by material from other sections of the book. Although the book's final, third section was largely dropped, elements from this section were inserted into other episodes of the film.[59] For instance, the climactic episode with the sniper is a conflation of two episodes in the book, from Parts II and III. Jenkins thinks the film presents this passage more dramatically but in less gruesome detail than in the novel.

text: The film often has a more tragic tone than the book, which relies on callous humor. Joker in the film remains a model of humane thinking, as evidenced by his moral struggle in the sniper episode and elsewhere. He works to overcome his own meekness, rather than to compete with other Marines. The film omits the book's showing his eventual domination over Animal Mother.[60]

text: The film also omits the death of the character Rafterman. Jenkins believed this allowed viewers to reflect on Rafterman's personal growth in the film and speculate on his future growth after the war. Jenkins also believed Rafterman's death would not have fit the plot of the screenplay.[59]


document_title: Shake a Tail Feather

question_text: who sang the original shake your tail feather

root

text: Shake a Tail Feather

text:
"Shake a Tail Feather"

Single by The Five Du-Tones

Released
1963

Format
Single

Recorded
1963

Genre
Soul

Length
2:24

Label
One-DERFUL!

Songwriter(s)
Otha Hayes, Verlie Rice, Andre Williams

tag: table

text: "Shake a Tail Feather" (Otha Hayes, Verlie Rice, and Andre Williams) is a song originally recorded in 1963 by the Chicago-based group The Five Du-Tones.[1] (This version was featured on the soundtrack of the 1988 film Hairspray). A 1967 version by James & Bobby Purify reached #25 on the Billboard Hot 100.[2]

tag: p

text: Cover versions[edit]

text: "Shake a Tail Feather" has been covered by many other artists over the years. Ray Charles covered and performed the song during his scenes in the 1980 film The Blues Brothers in a version that included calls for various 1960s dances, such as the Twist, the Monkey, The Fly, The Swim, The Frug and the Mashed Potato, The Boogaloo to be performed by a crowd gathered outside Ray's Music Exchange.

text: The song was covered by The Cheetah Girls for the 2005 Walt Disney Pictures film, Chicken Little.

text: The Kingsmen included the song on their 1966 The Kingsmen Up And Away album.

text: The Monkees performed the song in 1968 on the band's television special, 33 1⁄3 Revolutions Per Monkee.

text: Hanson included the song in a medley with "Gimme Some Lovin'" on their 1998 release, Live from Albertane.

text: Japanese garage punk band Teengenerate recorded the song for their 1994 10" vinyl release "Audio Recording".

text: In 2012, one of the songwriters, Andre Williams included the song on his 2012 Alive album, Life.

text: In November 2013 The Overtones recorded the song for their album Saturday Night at the Movies.

text: Other artists who have recorded the song include Ike & Tina Turner (as re-created in the film What's Love Got to Do with It),[3][4] Mitch Ryder, Gerry & The Pacemakers, Tommy James and the Shondells, and The Romantics.


document_title: Hamilton (musical)

question_text: who played the king in hamilton on broadway

question_tokens: who played the king in hamilton on broadway

text: Hamilton (musical)

text: Synopsis

text: The play has two acts, telling Hamilton's story through major events:[12]

text: Act I

text: The musical begins with the company summarizing Alexander Hamilton's early life as an orphan in the Caribbean ("Alexander Hamilton"). After arriving in New York in 1776, Hamilton meets Aaron Burr, John Laurens, the Marquis de Lafayette, and Hercules Mulligan ("Aaron Burr, Sir"), and impresses them with his rhetorical skills ("My Shot"). They affirm their revolutionary goals to each other ("The Story of Tonight"). "The Schuyler Sisters", Angelica, Eliza, and Peggy, are then introduced. King George then insists on his authority ("You'll Be Back"). During the New York and New Jersey campaign Hamilton accepts a position as George Washington's aide-de-camp ("Right Hand Man") instead of field command.

text: Hamilton marries Eliza Schuyler ("Helpless") as her sister Angelica suppresses her feelings for the sake of their happiness ("Satisfied"). Burr reflects on Hamilton's swift rise while considering his own career and more cautious style ("Wait For It").

text: Hamilton's friend Laurens duels General Charles Lee, with Hamilton and Burr as their seconds. Laurens injures Lee and Lee yields ("Ten Duel Commandments"). Hamilton is temporarily suspended by Washington over the duel but recalled to help plan the final Siege of Yorktown ("Yorktown (The World Turned Upside Down)").

text: Soon after the victory at Yorktown, Hamilton's son Philip is born, while Burr has a daughter, Theodosia ("Dear Theodosia"). Hamilton receives word that Laurens has been killed in a seemingly pointless battle and throws himself into his work ("Tomorrow There'll Be More of Us"). He co-authors the Federalist Papers and is selected as Secretary of the Treasury by newly-elected President Washington ("Non-Stop").

text: Act II

text: In 1789, Thomas Jefferson and Hamilton debate the merits of Hamilton's financial plans during a Cabinet meeting. Washington pulls Hamilton aside, and tells him to figure out a compromise to win over Congress ("Cabinet Battle #1").

text: While working on this compromise Hamilton begins an affair with Maria Reynolds, making him vulnerable to her husband's blackmail ("Say No To This"). Hamilton, Jefferson and James Madison create the Compromise of 1790 over a private dinner, exchanging Hamilton's financial plan for placing the country's permanent capital on the Potomac River. Burr is envious of Hamilton's sway in the government and wishes he had similar power ("The Room Where It Happens").

text: In another Cabinet meeting, Jefferson and Hamilton argue over whether the United States should assist France in its conflict with Britain. Washington ultimately agrees with Hamilton's argument for remaining neutral ("Cabinet Battle #2"). Washington decides to retire from the presidency and Hamilton assists in writing a farewell address ("One Last Time").

text: John Adams becomes the second President and fires Hamilton, who publishes an inflammatory critique of the new president as a response ("The Adams Administration"). Hamilton's affair with Reynolds becomes public ("The Reynolds Pamphlet"), damaging his relationship with Eliza ("Burn"). Their son Philip dies at age 19 in a duel with George Eacker ("Blow Us All Away"), causing a reconciliation between Alexander and Eliza ("It's Quiet Uptown").

text: Hamilton's endorsement of Jefferson in the presidential election of 1800 results in further animosity between Hamilton and Burr. Burr challenges Hamilton to a duel via an exchange of letters ("Your Obedient Servant"). Hamilton dies with his wife and Angelica at his side. Burr laments that even though he survived, he is cursed to be the villain who killed Alexander Hamilton ("The World Was Wide Enough"). The close of the musical is a reflection on historical memory and "Who Lives, Who Dies, Who Tells Your Story".

text: Roles and principal casts

text: Original production casts

text:
Character
Vassar Workshop[13]
Off-Broadway[14]
Broadway[15]
Chicago[8]
First U.S. Tour[16]
West End[17]
Second U.S. Tour[18]
Puerto Rico[19]

Alexander Hamilton
Lin-Manuel Miranda
Miguel Cervantes
Michael Luwoye
Jamael Westman
Joseph Morales
Lin-Manuel Miranda

Eliza Hamilton
Ana Nogueira
Phillipa Soo
Ari Afsar
Solea Pfeiffer
Rachelle Ann Go
Shoba Narayan
TBA

Aaron Burr
Utkarsh Ambudkar
Leslie Odom Jr.
Joshua Henry
Giles Terera
Nik Walker
TBA

Angelica Schuyler
Anika Noni Rose
Renée Elise Goldsberry
Karen Olivo
Emmy Raver-Lampman
Rachel John
Ta'Rea Campbell
TBA

Marquis de Lafayette / Thomas Jefferson
Daveed Diggs
Chris De'Sean Lee
Jordan Donica
Jason Pennycooke
Kyle Scatliffe
TBA

George Washington
Christopher Jackson
Jonathan Kirkland
Isaiah Johnson
Obioma Ugoala
Marcus Choi
TBA

King George III
Joshua Henry
Brian d'Arcy James
Jonathan Groff
Alexander Gemignani
Rory O'Malley
Michael Jibson
Jon Patrick Walker
TBA

John Laurens / Philip Hamilton
Javier Muñoz
Anthony Ramos
José Ramos
Rubén J. Carbajal
Cleve September
Elijah Malcomb
TBA

Peggy Schuyler / Maria Reynolds
Presilah Nunez
Jasmine Cephas Jones
Samantha Marie Ware
Amber Iman
Christine Allado
Danielle Sostre
TBA

Hercules Mulligan / James Madison
Joshua Henry
Okieriete Onaodowan
Wallace Smith
Mathenee Treco
Tarinn Callender
Fergie L. Philippe
TBA

Alexander Hamilton (alternate)
N/A
Javier Muñoz
Joseph Morales
Ryan Alvarado
Ash Hunter
Julius Thomas III
TBA

text: Broadway cast replacements

text:
Alexander Hamilton: Javier Muñoz,[20] Michael Luwoye[21]
Aaron Burr: Brandon Victor Dixon;[22] Daniel Breaker[23]
Angelica Schuyler: Mandy Gonzalez[24]
Marquis de Lafayette / Thomas Jefferson: Seth Stewart;[25] James Monroe Iglehart[26]
John Laurens / Philip Hamilton: Jordan Fisher[27]
King George III: Andrew Rannells;[28] Rory O'Malley;[29] Taran Killam;[30] Brian d'Arcy James;[31] Euan Morton[32]

tag: ul

text: Other notable production cast replacements

text:
Aaron Burr – Chicago: Wayne Brady;[33] Daniel Breaker[34]
Angelica Schuyler – Chicago: Montego Glover[35]

text: Musical numbers

text:
Act I

"Alexander Hamilton" – Full company (except King George III)
"Aaron Burr, Sir" – Hamilton, Burr, Laurens, Lafayette, and Mulligan
"My Shot" – Hamilton, Laurens, Lafayette, Mulligan, Burr, Company
"The Story of Tonight" – Hamilton, Laurens, Lafayette, Mulligan, Company
"The Schuyler Sisters" – Angelica, Eliza, Peggy, Burr, and Company
"Farmer Refuted" – Seabury, Hamilton
"You'll Be Back" – King George III
"Right Hand Man" – Washington, Hamilton, Burr, Laurens, Lafayette, Mulligan, and Company
"A Winter's Ball" – Burr, Hamilton, and Men
"Helpless" – Eliza, Hamilton, Angelica, and Women
"Satisfied" – Angelica, Eliza, Hamilton, and Company
"The Story of Tonight (Reprise)" – Laurens, Lafayette, Mulligan, Burr, Hamilton
"Wait for It" – Burr and Company
"Stay Alive" – Eliza, Angelica, Hamilton, Washington, Laurens, Lafayette, Mulligan, Lee, and Company
"Ten Duel Commandments" – Laurens, Hamilton, Lee, Burr, and Company
"Meet Me Inside" – Washington, Hamilton, Burr, Laurens, and Company
"That Would Be Enough" – Eliza and Hamilton
"Guns and Ships" – Lafayette, Burr, Washington, and Company
"History Has Its Eyes on You" – Washington and Company
"Yorktown (The World Turned Upside Down)" – Hamilton, Lafayette, Laurens, Mulligan, Washington, and Company
"What Comes Next?" – King George III
"Dear Theodosia" – Burr and Hamilton
"Tomorrow There'll Be More of Us" – Laurens, Eliza, Hamilton †
"Non-Stop" – Hamilton, Burr, Eliza, Angelica, Washington, and Company

Act II

"What'd I Miss" – Jefferson, Burr, Madison, Washington, Hamilton, and Company
"Cabinet Battle #1" – Jefferson, Hamilton, Washington, and Madison
"Take a Break" – Eliza, Philip, Hamilton, and Angelica
"Say No to This" – Hamilton, Maria Reynolds, James Reynolds, and Company
"The Room Where It Happens" – Burr, Hamilton, Jefferson, Madison, and Company
"Schuyler Defeated" – Philip, Eliza, Hamilton, and Burr
"Cabinet Battle #2" – Washington, Jefferson, Hamilton, and Madison
"Washington on Your Side" – Burr, Jefferson, and Madison
"One Last Time" – Washington, Hamilton, and Company ‡
"I Know Him" – King George III
"The Adams Administration" – Burr, Hamilton, Jefferson, Madison, and Company
"We Know" – Hamilton, Burr, Jefferson, and Madison
"Hurricane" – Hamilton and Company
"The Reynolds Pamphlet" – Hamilton, Jefferson, Madison, Burr, Angelica, and Company
"Burn" – Eliza
"Blow Us All Away" – Philip, Hamilton, Eacker, Dolly, Martha and Company
"Stay Alive (Reprise)" – Philip, Hamilton, Eliza, Doctor, and Company
"It's Quiet Uptown" – Angelica, Hamilton, Eliza, and Company
"The Election of 1800" – Jefferson, Madison, Burr, Hamilton, and Company
"Your Obedient Servant" – Burr and Hamilton
"Best of Wives and Best of Women" – Eliza and Hamilton
"The World Was Wide Enough" – Burr, Hamilton, and Company
"Who Lives, Who Dies, Who Tells Your Story" – Eliza, Washington, Burr, Jefferson, Madison, Angelica, Laurens, Lafayette, Mulligan, and Company

text: † "Tomorrow There'll Be More of Us", a second reprise to "The Story of Tonight", does not appear on the original Broadway cast recording. Miranda explained that it was "more of a scene than a song, the only scene in the [sung-through] show", and he wanted to reserve the impact of "at least one revelation" that could be experienced more fully onstage.[36]

text: ‡ Previously titled "One Last Ride" in the Off-Broadway production.[37]

text: Recordings

text: Original Broadway cast album (2015)

text: The original Broadway cast recording for Hamilton was made available to listeners by NPR on September 21, 2015.[38] It was released by Atlantic Records digitally on September 25, 2015, and physical copies were released on October 16, 2015.[39] The cast album has also been released on vinyl.[40] The album debuted at number 12 on the Billboard 200 albums chart, the highest entrance for a cast recording since 1963.[41] It went on to reach number 3 on the Billboard 200[42] and number 1 on the Billboard Rap albums chart.[43] The original cast recording has won a Grammy Award for Best Musical Theater Album.[44]

text: The Hamilton Mixtape (2016)

text: The Hamilton Mixtape, a collection of remixes, covers, and samples of the musical's songs, was released on December 2, 2016. The Mixtape debuted in the number 1 spot on the Billboard 200.[45]

text: The Hamilton Instrumentals (2017) and Hamiltunes

text: The Hamilton Instrumentals, an instrumental edition of the original Broadway cast recording without the cast's vocals, was released on June 30, 2017.[46]

text: In conjunction with the release, the producers of Hamilton announced that they were officially authorizing free sing-along programs for fans, and offering organizers the Hamiltunes name and logo to promote the events.[46] A series of unauthorized Hamilton sing-alongs under that name, starting with Hamiltunes L.A. in early 2016, had already taken place in Los Angeles, San Francisco, and Washington D.C., with spinoff events nationwide.[46][47][48]

text: Hamildrops (2017–2018)

text: Lin-Manuel Miranda announced a new series of 13 Hamilton-related recordings called Hamildrops, releasing once a month from December 2017 to December 2018. The first release, on December 15, 2017, was "Ben Franklin's Song" by The Decemberists, containing lyrics Miranda wrote during development of Hamilton for an unused song that was never set to music. Miranda had long imagined Benjamin Franklin singing in a "Decemberist-y way", and ultimately sent the lyrics to Colin Meloy, who set them to music.[49][50] The second release, on January 25, 2018, was "Wrote My Way Out (Remix)", a remixed version of a song on The Hamilton Mixtape, featuring Royce Da 5'9", Joyner Lucas, Black Thought and Aloe Blacc.[51]

text: The third release, on March 2, 2018, was "The Hamilton Polka" by "Weird Al" Yankovic, a polka medley of some of the songs from the musical. A fan of Yankovic since childhood, Miranda became friends with him after they tried to develop a musical together. About the origin of the song, Yankovic said, "Lin pitched it to me as a polka medley way more hesitantly than [he] should have. He was like, 'Would you want to do a polka medley?' I was like, 'Of course I do!'" Since Yankovic was busy working on his new tour, he wouldn't be able to release the song on February, so he suggested calling March 2nd "February 30th". Miranda said it was "the most perfect 'Weird Al' creative problem solving possible."[52]

text: The fourth release, on March 19, 2018, was "Found/Tonight" by Lin-Manuel Miranda and Ben Platt. A mash-up of the songs "You Will Be Found" from the stage musical Dear Evan Hansen and "The Story of Tonight" from Hamilton, part of the proceeds were destinated to the initiative March for Our Lives, created after the Stoneman Douglas High School shooting. Miranda said the song was his way "of helping to raise funds and awareness for [the efforts of the students in Parkland, Florida], and to say Thank You, and that we are with you so let's keep fighting, together." Platt added that he hoped the song could "play some small part in bringing about real change [in gun control laws]".[53]

text: Background

text:
External audio

 Lin-Manuel Miranda Talks 'Hamilton': Once A 'Ridiculous' Pitch, Now A Revolution, interview with Scott Simon, NPR, April 9, 2016

text: While on vacation from performing in his hit Broadway show In the Heights, Lin-Manuel Miranda read a copy of Alexander Hamilton by Ron Chernow, a biography of Alexander Hamilton. After finishing the first few chapters, Miranda began to envision the life of Hamilton as a musical, and researched whether a stage musical of Hamilton's life had been created. All he found was that a play of Hamilton's story had been done on Broadway in 1917, starring George Arliss as Alexander Hamilton.[55] (Arliss reprised the role in a 1931 feature film adaptation, Alexander Hamilton, but to date there is no record of Miranda having seen it.)

text: Miranda therefore began a project entitled The Hamilton Mixtape. On May 12, 2009, Miranda was invited to perform music from In the Heights at the White House Evening of Poetry, Music and the Spoken Word. Instead, he performed the first song from The Hamilton Mixtape, a rough version of what would later become "Alexander Hamilton", Hamilton's opening number. He spent a year after that working on "My Shot", another early number from the show.[56]

text: Miranda performed in a workshop production of the show, then titled The Hamilton Mixtape, at the Vassar Reading Festival on July 27, 2013.[57] The workshop production was directed by Thomas Kail and musically directed by Alex Lacamoire. The workshop consisted of the entirety of the first act of the show and three songs from the second act. The workshop was accompanied by Lacamoire on the piano.[56]

text: Of the original workshop cast, only three principal cast members played in the Off-Broadway production: Miranda, Daveed Diggs, and Christopher Jackson. Most of the original Off-Broadway cast moved to Broadway, except Brian d'Arcy James, who was replaced by Jonathan Groff as King George III.

text: Productions

text: Off-Broadway (2015)

text:
External video

 Interview with Ron Chernow (conducted by Harold Holzer) on the adaptation of his book into the play, February 25, 2016, C-SPAN

text: Directed by Thomas Kail and choreographed by Andy Blankenbuehler, the musical received its world premiere Off-Broadway at The Public Theater, under the supervision of the Public's Artistic Director Oskar Eustis, with previews starting on January 20, 2015 and officially opening on February 17.[58][59] The production was extended twice, first to April 5 and then to May 3.[60] Chernow served as historical consultant to the production.[4][61] The show opened to universal acclaim according to review aggregator Did He Like It.[62]

text: Broadway (2015–present)

text: Hamilton premiered on Broadway at the Richard Rodgers Theatre (also home to Miranda's 2008 Broadway debut In the Heights) on July 13, 2015 in previews, and opened on August 6, 2015.[1] The production is produced by Jeffrey Seller and features scenic design by David Korins, costumes by Paul Tazewell, lighting by Howell Binkley and sound by Nevin Steinberg, who all reprised their roles from the off-Broadway production.[63]

text: The production was critically acclaimed by many theater analysts.[1][64][65]

text: Chicago (2016–present)

text: Hamilton opened at the CIBC Theatre in Chicago on October 19, 2016, following previews from September 27, 2016.[66] It is currently booking through January 20, 2019.[67] Near the beginning of its run, lead producer Jeffrey Seller said the show may be in residence for two years or more.[68] On its opening, attended by author Miranda, the Chicago production received strongly positive reviews.[69][70][71] Miranda praised the Chicago casts' performance during a later television interview.[72]

text: U.S. touring productions (2017–present)

text: Plans for a national tour of Hamilton emerged near the end of January 2016. The tour was initially announced with over 20 stops, scheduled from 2017 through at least 2020.[73] Tickets to the tour's run in San Francisco—its debut city—sold out within 24 hours of release; the number of people who entered the online waiting room to purchase tickets surpassed 110,000.[74] The first national touring production began preview performances at San Francisco's SHN Orpheum Theatre on March 10, 2017 and officially opened on March 23. The production ran in San Francisco until August 5, when it transferred to Los Angeles' Hollywood Pantages Theatre for a run from August 11 to December 30, 2017.

text: Just days after the first U.S. tour began performances in San Francisco, news emerged that a second U.S. tour of Hamilton would begin in Seattle for a six-week limited engagement before touring North America concurrently with the first tour.[11] To distinguish the first and second touring productions, the production team has labeled them, respectively, the "Angelica tour" and the "Philip tour".[73]

text: The second national tour began preview performances at the Paramount Theatre in Seattle on February 6, 2018 before officially opening on February 15, 2018.[75]

text: The Angelica tour alone requires 14 truckloads of cargo and a core group of over 60 traveling cast, crew, and musicians.[73] The production team insisted that each tour must be able to duplicate the original Broadway show's choreography, which literally revolves around two concentric turntables on the stage.[73] This led to the construction of four portable sets, two for each tour, so that one set can be assembled well in advance at the next stop while the tour is still playing at the last stop.[73]

text: West End (2017–present)

text: Cameron Mackintosh produced a London production which re-opened the Victoria Palace Theatre on December 21, 2017, following previews from December 6.[9] Initial principal casting was announced on January 26, 2017.[17] The London production received strongly positive reviews.[76]

text: Puerto Rico (2019)

text: It was announced on November 8, 2017 that Hamilton would play the University of Puerto Rico's Teatro UPR in San Juan, beginning in January 2019, with Lin-Manuel Miranda reprising his performance as Alexander Hamilton.[19] The Teatro UPR stage had suffered damage following Hurricane Maria in September and October 2017, and is set to undergo restorations and repairs prior to Hamilton's 2019 bow.

text: Box office and business

text: Opening and box office records

text: Hamilton's off-Broadway engagement at The Public Theater was sold out,[6] and when the musical opened on Broadway, it had a multimillion-dollar advance in ticket sales, reportedly taking in $30 million before its official opening.[77]

text: By September 2015, the show was sold out for most of its Broadway engagement.[78][79][80][81] It was the second-highest-grossing show on Broadway for the Labor Day week ending September 6, 2015 (behind only The Lion King).[7]

text: Hamilton set a Broadway box office record for the most money grossed in a single week in New York City in late November 2016, when it grossed $3.3 million for an eight performance week, becoming the first show to break $3 million in eight performances.[82]

text: Ticket lottery and Ham4Ham

text: Hamilton, like other Broadway musicals, offers a ticket lottery before every show. Initially, twenty-one front row seats (and occasional standing room tickets) were offered in each lottery. Hamilton creator Lin-Manuel Miranda began preparing and hosting outdoor mini-performances shortly before each daily drawing, allowing lottery participants to experience a part of the show even when they did not win tickets.[83] These were dubbed the "Ham4Ham" shows, because lottery winners were given the opportunity to purchase two tickets at the reduced price of one Hamilton ($10 bill) each.

text: The online theatrical journal HowlRound characterized Ham4Ham as an expression of Miranda's cultural background:

text: Ham4Ham follows a long tradition of Latina/o (or the ancestors of present-day Latina/os) theatremaking that dates back to when the events in Hamilton were happening.... The philosophy behind this is simple. If the people won't come to the theatre, then take the theatre to the people. While El Teatro Campesino's 'taking it to the streets' originated from a place of social protest, Ham4Ham does so to create accessibility, tap into social media, and ultimately generate a free, self-functioning marketing campaign. In this way, Ham4Ham falls into a lineage of accessibility as a Latina/o theatremaking aesthetic.[84]

text: As a result of the Ham4Ham shows, Hamilton's lottery process drew unusually large crowds of people that created a significant congestion problem for West 46th Street.[85] To avoid increasingly dangerous crowding and traffic conditions, an online ticket lottery began operating in early January 2016.[85] On the first day of the online lottery, more than 50,000 people entered, resulting in the website crashing.[86]

text: Following Miranda's departure from the show on July 9, 2016, Rory O'Malley, then playing King George III, took over as the host of Ham4Ham.[87] The Ham4Ham show officially ended on August 31, 2016, after over a year of performances.[88] The online lottery continued, with an official mobile app released in August 2017 that expanded the lottery by offering tickets for touring productions of Hamilton as well as the Broadway show.[89]

text: Critical response

text: Marilyn Stasio, in her review of the Off-Broadway production for Variety, wrote, "The music is exhilarating, but the lyrics are the big surprise. The sense as well as the sound of the sung dialogue has been purposely suited to each character. George Washington, a stately figure in Jackson's dignified performance, sings in polished prose... But in the end, Miranda's impassioned narrative of one man's story becomes the collective narrative of a nation, a nation built by immigrants who occasionally need to be reminded where they came from."[90]

text: In his review of the Off-Broadway production, Jesse Green in New York wrote, "The conflict between independence and interdependence is not just the show's subject but also its method: It brings the complexity of forming a union from disparate constituencies right to your ears.... Few are the theatergoers who will be familiar with all of Miranda's touchstones. I caught the verbal references to Rodgers and Hammerstein, Gilbert and Sullivan, Sondheim, West Side Story, and 1776, but other people had to point out to me the frequent hat-tips to hip-hop... Whether it's a watershed, a breakthrough, and a game changer, as some have been saying, is another matter. Miranda is too savvy (and loves his antecedents too much) to try to reinvent all the rules at once.... Those duels, by the way—there are three of them—are superbly handled, the highlights of a riveting if at times overbusy staging by the director Thomas Kail and the choreographer Andy Blankenbuehler."[91]

text: Although giving a positive review, Elisabeth Vincentelli, of the New York Post (which was founded by Hamilton himself), wrote that Hamilton and Burr's love/hate relationship "fails to drive the show—partly because Miranda lacks the charisma and intensity of the man he portrays", and that "too many of the numbers are exposition-heavy lessons, as if this were 'Schoolhouse Rap!' The show is burdened with eye-glazingly dull stretches, especially those involving George Washington."[92]

text: Reviewing the Broadway production in The New York Times, Ben Brantley wrote, "I am loath to tell people to mortgage their houses and lease their children to acquire tickets to a hit Broadway show. But Hamilton, directed by Thomas Kail and starring Mr. Miranda, might just about be worth it.... Washington, Jefferson, Madison—they're all here, making war and writing constitutions and debating points of economic structure. So are Aaron Burr and the Marquis de Lafayette. They wear the clothes (by Paul Tazewell) you might expect them to wear in a traditional costume drama, and the big stage they inhabit has been done up (by David Korins) to suggest a period-appropriate tavern, where incendiary youth might gather to drink, brawl and plot revolution."[1]

text: In Time Out New York, David Cote wrote, "I love Hamilton. I love it like I love New York, or Broadway when it gets it right. And this is so right... A sublime conjunction of radio-ready hip-hop (as well as R&B, Britpop and trad showstoppers), under-dramatized American history and Miranda's uniquely personal focus as a first-generation Puerto Rican and inexhaustible wordsmith, Hamilton hits multilevel culture buttons, hard... The work's human drama and novelistic density remain astonishing." Cote chose Hamilton as a Critics' Pick, and gave the production five out of five stars.[3]

text: In an issue of Journal of the Early Republic, Andrew Schocket wrote that while Hamilton makes bold choices to stray away from what he calls the "American Revolution Rebooted" genre,[93] it remains "forged in the mold of this genre, and despite its casting and hip-hop delivery, is more representative of it than we might think."[94] In the same issue, Marvin McAllister noted that the production's heavy hip-hop influence works so well because "Miranda elevates the form through this marriage with musical theater storytelling, and in the process, ennobles the culture and the creators."[95]

text: A review in The Economist summed up the response to Hamilton as "near-universal critical acclaim".[96] Barack Obama joked that admiration for the musical is "the only thing Dick Cheney and I agree on".[97]

text: Honors and awards

text: Original Off-Broadway production

text:
Year
Award
Category
Nominee
Result

2015
Lucille Lortel Awards[98]
Outstanding Musical
Won

Outstanding Director
Thomas Kail
Won

Outstanding Choreographer
Andy Blankenbuehler
Won

Outstanding Lead Actor in a Musical
Lin-Manuel Miranda
Won

Leslie Odom, Jr.
Nominated

Outstanding Lead Actress in a Musical
Phillipa Soo
Won

Outstanding Featured Actor in a Musical
Daveed Diggs
Won

Brian d'Arcy James
Nominated

Outstanding Featured Actress in a Musical
Renée Elise Goldsberry
Won

Outstanding Costume Design
Paul Tazewell
Won

Outstanding Lighting Design
Howell Binkley
Won

Outstanding Sound Design
Nevin Steinberg
Won

Outer Critics Circle Awards[99]
Outstanding New Off-Broadway Musical
Won

Outstanding Book of a Musical
Lin-Manuel Miranda
Won

Outstanding New Score
Won

Outstanding Director of a Musical
Thomas Kail
Nominated

Outstanding Choreographer
Andy Blankenbuehler
Nominated

Drama League Awards[100]
Outstanding Production of a Broadway or Off-Broadway Musical
Nominated

Distinguished Performance
Daveed Diggs
Nominated

Lin-Manuel Miranda
Nominated

Drama Desk Awards[101]
Outstanding Musical
Won

Outstanding Actor in a Musical
Lin-Manuel Miranda
Nominated

Outstanding Featured Actor in a Musical
Leslie Odom, Jr.
Nominated

Outstanding Featured Actress in a Musical
Renée Elise Goldsberry
Won

Outstanding Director of a Musical
Thomas Kail
Won

Outstanding Music
Lin-Manuel Miranda
Won

Outstanding Lyrics
Won

Outstanding Book of a Musical
Won

Outstanding Orchestrations
Alex Lacamoire
Nominated

Outstanding Set Design
David Korins
Nominated

Outstanding Costume Design
Paul Tazewell
Nominated

Outstanding Lighting Design
Howell Binkley
Nominated

Outstanding Sound Design in a Musical
Nevin Steinberg
Won

Special Award ‡
Andy Blankenbuehler
Won

New York Drama Critics' Circle Awards[102]
Best Musical
Won

Off Broadway Alliance Awards[103]
Best New Musical
Won

Theatre World Awards[104]
Outstanding Debut Performance
Daveed Diggs
Won

Clarence Derwent Awards[105]
Most Promising Female Performer
Phillipa Soo
Won

Obie Awards[106]
Best New American Theatre Work
Lin-Manuel Miranda, Thomas Kail, Andy Blankenbuehler, Alex Lacamoire
Won

Edgerton Foundation New American Play Awards[107]
Won

text: ‡ Blankenbuehler received a Special Drama Desk Award for "his inspired and heart-stopping choreography in Hamilton, which is indispensible [sic] to the musical's storytelling. His body of work is versatile, yet a dynamic and fluid style is consistently evident. When it's time to 'take his shot,' Blankenbuehler hits the bull's-eye."[101]

text: Original Broadway production

text:
Year
Award
Category
Nominee
Result

2016
Tony Awards[108]
Best Musical
Won

Best Book of a Musical
Lin-Manuel Miranda
Won

Best Original Score
Won

Best Actor in a Musical
Nominated

Leslie Odom, Jr.
Won

Best Actress in a Musical
Phillipa Soo
Nominated

Best Featured Actor in a Musical
Daveed Diggs
Won

Jonathan Groff
Nominated

Christopher Jackson
Nominated

Best Featured Actress in a Musical
Renée Elise Goldsberry
Won

Best Scenic Design of a Musical
David Korins
Nominated

Best Costume Design of a Musical
Paul Tazewell
Won

Best Lighting Design of a Musical
Howell Binkley
Won

Best Direction of a Musical
Thomas Kail
Won

Best Choreography
Andy Blankenbuehler
Won

Best Orchestrations
Alex Lacamoire
Won

Drama League Awards[109]
Outstanding Production of a Broadway or Off-Broadway Musical
Won

Distinguished Performance
Daveed Diggs
Nominated

Lin-Manuel Miranda
Won

Pulitzer Prize
Drama
Won

Grammy Awards[44]
Best Musical Theater Album
Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Christopher Jackson, Jasmine Cephas Jones, Lin-Manuel Miranda, Leslie Odom, Jr., Okieriete Onaodowan, Anthony Ramos & Phillipa Soo (principal soloists); Alex Lacamoire, Lin-Manuel Miranda, Bill Sherman, Ahmir Thompson & Tariq Trotter (producers); Lin-Manuel Miranda (composer & lyricist)
Won

Fred and Adele Astaire Awards[110]
Outstanding Ensemble in a Broadway Show
Nominated

Best Choreographer
Andy Blankenbuehler
Won

Best Male Dancer
Daveed Diggs
Nominated

NAACP Image Awards[111]
Outstanding Duo, Group or Collaboration
Original Broadway Cast
Nominated

Dramatists Guild of America Awards[112]
Frederick Loewe Award for Dramatic Composition
Lin-Manuel Miranda
Won

Edward M. Kennedy Prize[113]
Drama Inspired by American History
Won

Broadway.com Audience Awards
Favorite New Musical
Won

Favorite Leading Actor in a Musical
Lin-Manuel Miranda
Won

Leslie Odom Jr.
Nominated

Favorite Leading Actress in a Musical
Phillipa Soo
Won

Favorite Breakthrough Performance (female)
Won

Jasmine Cephas Jones
Nominated

Favorite Featured Actress in a Musical
Nominated

Renee Elise Goldsberry
Won

Favorite Featured Actor in a Musical
Daveed Diggs
Nominated

Christopher Jackson
Nominated

Anthony Ramos
Nominated

Jonathan Groff
Won

Favorite Diva Performance
Won

Favorite Funny Performance
Won

Daveed Diggs
Nominated

Favorite Breakthrough Performance
Won

Anthony Ramos
Nominated

Okieriete Onaodowan
Nominated

Favorite Onstage Pair
Lin-Manuel Miranda & Leslie Odom Jr.
Won

Lin-Manuel Miranda & Phillipa Soo
Nominated

Favorite Replacement (Male)
Andrew Rannells
Nominated

Rory O'Malley
Nominated

Favorite New Song
"Alexander Hamilton"
Nominated

"My Shot"
Nominated

"The Schuyler Sisters"
Nominated

"Satisfied"
Won

"The Room Where It Happens"
Nominated

2017
Kids' Choice Awards
Favorite Soundtrack
Nominated

Billboard Music Award[114]
Top Soundtrack/Cast Album
Won

text: Original West End production

text:
Year
Award
Category
Nominee
Result

2018
Critics' Circle Theatre Award[115]
The Peter Hepple Award for Best Musical
Won

Laurence Olivier Awards[116]
Best New Musical
Won

Outstanding Achievement in Music
Alex Lacamoire and Lin-Manuel Miranda
Won

Best Actor in a Musical
Giles Terera
Won

Jamael Westman
Nominated

Best Actor in a Supporting Role in a Musical
Michael Jibson
Won

Jason Pennycooke
Nominated

Cleve September
Nominated

Best Actress in a Supporting Role in a Musical
Rachel John
Nominated

Best Costume Design
Paul Tazewell
Nominated

Best Lighting Design
Howell Binkley
Won

Best Sound Design
Nevin Steinberg
Won

Best Director
Thomas Kail
Nominated

Best Theatre Choreographer
Andy Blankenbuehler
Won

text: Accolades

text:
External video

 Presentation to Lin-Manuel Miranda of the Special Achievement Award from the board of the George Washington Book Prize, December 14, 2015, C-SPAN

text:
Publication
Accolade
Rank

Billboard
25 Best Albums of 2015[117]
2

Rolling Stone
50 Best Albums of 2015[118]
8

text: Concept

text: According to an article in The New Yorker, the show is "an achievement of historical and cultural reimagining". The costumes and set reflect the period, with "velvet frock coats and knee britches. The set ...is a wooden scaffold against exposed brick; the warm lighting suggests candlelight".[4] The musical is mostly sung and rapped all the way through, with little dialogue isolated outside of the musical score.[13][2][119]

text: Casting diversity

text: Miranda said that the portrayal of Hamilton, Thomas Jefferson, George Washington, and other white historical figures by black and Hispanic actors should not require any substantial suspension of disbelief by audience members. "Our cast looks like America looks now, and that's certainly intentional", he said. "It's a way of pulling you into the story and allowing you to leave whatever cultural baggage you have about the founding fathers at the door."[120] He noted "We're telling the story of old, dead white men but we're using actors of color, and that makes the story more immediate and more accessible to a contemporary audience."[121]

text: The pro-immigration message of Hamilton is at the forefront, as the show revolves around the life of one of the Founding Fathers of America, Alexander Hamilton, and how he made his mark in American politics as an immigrant. Instead of being characterized as a white person, Alexander Hamilton's immigrant status would be referenced throughout the whole show, alongside with the virtue and prowess of Hamilton ("by working a lot harder, by being a lot smarter, by being a self-starter", described in the show's opening), in order to foster a positive image of immigrants.[122] Alongside this, the casting of Black, Latino, and Asian American leads allowed audiences to literally view America as a nation of immigrants, with the intention of showing how irrelevant the Founding Fathers' whiteness is to their claim on the country.[123] "Hamilton is a story about America, and the most beautiful thing about it is... it's told by such a diverse cast with a such diverse styles of music," according to Renee Elise Goldberry, who played Angelica Schuyler. "We have the opportunity to reclaim a history that some of us don't necessarily think is our own."[124] Miranda has stated that he is "totally open" to women playing the Founding Fathers.[125] Casting for the British production is expected to feature predominantly black British artists.[126][127]

text: Historical accuracy

text: Chronology and events

text: Although Hamilton was based on true events, Miranda did use some dramatic license in retelling the story. For example, while Angelica did have a strong relationship with Hamilton, it was exaggerated in the show. During "Satisfied", Angelica explains why Hamilton is not suitable for her despite wanting him. In particular, she states, "I'm a girl in a world in which my only job is to marry rich. My father has no sons so I'm the one who has to social climb for one." In actuality, Angelica had less pressure on her to do this. Philip Schuyler actually had fifteen children, including two sons who survived into adulthood (one of whom was New York State Assemblyman Philip Jeremiah Schuyler), and Angelica had eloped with John Barker Church three years before she met Hamilton at her sister's wedding, when she was already mother of two of her eight children with Church.[128] Miranda stated that he chose to do this because it is stronger dramatically if Angelica is available but cannot marry him.[129][130][131]

text: In addition, in Act I, Burr's role in Hamilton's life is overstated, and much of the early interactions between the two men in the show are fictionalized. For example, while Burr was present at the Battle on Monmouth, Burr did not serve as Charles Lee's second in his duel with John Laurens as seen in "Ten Duel Commandments"; Lee's second was Evan Edwards.[132] Hamilton also never approached Burr to help write the Federalist Papers as portrayed in "Non-Stop".[133]

text: During Act I, the character of Aaron Burr says that "...Martha Washington named her feral tomcat after him! [Hamilton]", to which Alexander Hamilton replies: "That's true!"[134] In fact it is false. The idea of Hamilton as a serial adulterer has been one of the biggest mischaracterizations of the real Alexander Hamilton for centuries, with celebrated authors repeating the story over and over again, notwithstanding that the sexual connotation of tomcat as a womanizer did not appear in dictionaries until the first half of the 20th century. The "tomcat" story has been previously discredited by author Stephen Knott,[135] and refuted by historian and author Michael E. Newton at the "Alexander Hamilton Discoveries and Findings" talk held by the Alexander Hamilton Awareness Society at Liberty Hall (Kean University) as part of the 2016 CelebrateHAMILTON events.[136][137]

text: In Act II, there are multiple inaccuracies throughout Hamilton's decline, probably due to time constraints and narrative arc. While it is true that John Adams and Hamilton did not particularly get along, John Adams did not fire Hamilton as told in the show. Hamilton tendered his resignation from his position as Secretary of the Treasury on December 1, 1794,[138] two years before Adams became president. However, Hamilton remained close friends with Washington and highly influential in the political sphere.[139] In addition, Jefferson, Madison and Burr did not approach Hamilton about his affair, it was actually James Monroe, Frederick Muhlenberg and Abraham Venable in December 1792.[140] Monroe was a close friend of Jefferson's and shared the information of Hamilton's affair with him. In the Summer of 1797, journalist James Callender broke the story of Hamilton's infidelity. Hamilton blamed Monroe, and the altercation nearly ended in a duel.[141] With nothing left to do, Hamilton then published The Reynolds Pamphlet.[142] In "Blow Us All Away", George Eacker and Philip Hamilton engage in a duel, before the events of the 1800 presidential election. The duel actually occurred in 1801, with Philip Hamilton dying on November 24. In the song, Eacker fires on Philip at the count of seven, while what happened in real-life was quite the opposite; both men refused to fire for over a minute before Eacker shot Philip in the hips.[143] Lastly, it was not the presidential election of 1800 that led to Burr and Hamilton's duel. Burr did become Jefferson's vice-president, but when Jefferson decided to not run with Burr for reelection in 1804, Burr opted to run for Governor of New York instead. Burr lost to Morgan Lewis in a landslide. Afterwards, a letter was published in the Albany Register from Charles D. Cooper to Philip Schuyler, claiming that Hamilton called Burr, "a dangerous man, and one who ought not be trusted with the reins of government", and that he knew of "a still more despicable opinion which General Hamilton has expressed of Mr. Burr".[144] This led to the letters between Burr and Hamilton as seen in the show in "Your Obedient Servant".

text: Critical analysis and scholarship

text: The show has been critiqued for a simplistic depiction of Hamilton and vilification of Jefferson. Joanne B. Freeman, a history professor at Yale,[145] contrasted the show's Hamilton to the "real Hamilton [who] was a mass of contradictions: an immigrant who sometimes distrusted immigrants, a revolutionary who placed a supreme value on law and order, a man who distrusted the rumblings of the masses yet preached his politics to them more frequently and passionately than many of his more democracy-friendly fellows".[146]

text: Australian historian Shane White found the framing of the show's story "troubling", stating that he and many historian colleagues "would like to imagine that Hamilton is a last convulsion of the founding father mythology".[147] According to White, Miranda's depiction of the founding of the United States "infuses new life into an older view of American history" that centered on the Founding Fathers, instead of joining the many historians who were "attempting to get away from the Great Men story" by incorporating "ordinary people, African-Americans, Native Americans and women" into a "more inclusive and nuanced" historical narrative in which Hamilton has a "cameo rather than leading role".[147]

text: Rutgers University professor Lyra Monteiro criticized the show's multi-ethnic casting as obscuring a complete lack of identifiable enslaved or free persons of color as characters in the show.[148] Monteiro identified other commentators, such as Ishmael Reed, who criticized the show for making Hamilton and other historical personages appear more progressive on racial injustice than they really were.[148] According to Reed, "[Hamilton's] reputation has been shored up as an abolitionist and someone who was opposed to slavery," which Reed stated was untrue.[149]

text: In The Baffler, policy analyst Matt Stoller criticized the musical's portrayal of Hamilton as an idealist committed to democratic principles, in contrast to what he characterized as the historical record of Hamilton's reactionary, anti-democratic politics and legacy.[150] For example, Stoller cited Hamilton as a leader involved in the Newburgh conspiracy (a military coup plot against the Continental Congress in 1783); his development of a national financial system which, in Stoller's view, empowered the plutocratic elite; and his use of military force, indefinite detention, and mass arrests against dissenters during the Whiskey Rebellion of 1791.[150] In 2007, history writer William Hogeland criticized Chernow's biography of Hamilton on similar grounds in the Boston Review.[151]

text: Use in education

text: KQED News wrote of a "growing number of intrepid U.S. history teachers...who are harnessing the Hamilton phenomenon to inspire their students".[152] The Cabinet rap battles provide a way to engage students with topics that have traditionally been considered uninteresting.[152] An elective course for 11th and 12th graders on the musical Hamilton was held at the Ethical Culture Fieldston School in New York.[152] KQED News added that "Hamilton is especially galvanizing for the student who believes that stories about 18th century America are distant and irrelevant" as it shows the Founding Fathers were real humans with real feeling and real flaws, rather than "bloodless, two-dimensional cutouts who devoted their lives to abstract principles".[152] A high school teacher from the Bronx noted his students were "singing these songs the way they might sing the latest release from Drake or Adele".[153] One teacher focused on Hamilton's ability to write his way out of trouble and toward a higher plane of existence: "skilled writing is the clearest sign of scholarship—and the best way to rise up and alter your circumstance."[154]

text: Hamilton's producers have made a pledge to allow 20,000 New York City public high school students from low-income families to get subsidized tickets to see Hamilton on Broadway by reducing their tickets to $70 for students, and the Rockefeller Foundation provided $1.5 million to further lower ticket prices to $10 per student.[155][156] The Gilder Lehrman Institute of American History created a study guide to accompany the student-ticket program.[155][156]

text: Through a private grant, over the course of the 2017 school year nearly 20,000 Chicago Public School students got to see a special performance of the show, and some got to perform original songs on stage prior to the show.[157]

text: The website EducationWorld writes that Hamilton is "being praised for its revitalization of interest in civic education".[158] Northwestern University announced plans to offer course work in 2017 inspired by Hamilton, in history, Latino studies, and interdisciplinary studies.[159]

text: In 2016, Moraine Valley Community College started a Hamilton appreciation movement, Straight Outta Hamilton, hosting panels and events that talk about the musical itself and relate them to current events.[160][161]

text: Legacy and impact

text: $10 bill

text: In 2015, the U.S. Department of the Treasury announced a redesign to the $10 bill, with plans to replace Hamilton with a then-undecided woman from American history. Because of Hamilton's surging popularity, almost exclusively due to the musical, United States Treasury Secretary Jack Lew reversed the plans to replace Hamilton's portrait, instead deciding to replace Andrew Jackson with Harriet Tubman on the $20 bill.[162]

text: Hamilton: The Revolution

text:
External video

 Presentation by Jeremy McCarter on Hamilton: The Revolution, June 11, 2016, C-SPAN

text: On April 12, 2016, Miranda and Jeremy McCarter's book, Hamilton: The Revolution, was released, detailing Hamilton's journey from an idea to a successful Broadway musical. It includes an inside look at not only Alexander Hamilton's revolution, but the cultural revolution that permeates the show. It also has footnotes from Miranda and stories from behind the scenes of the show.[163]

text: Hamilton's America

text: After premiering on the New York Film Festival on October 1, 2016, PBS' Great Performances exhibited on October 21, 2016 the documentary Hamilton's America. Directed by Alex Horwitz, it "delves even deeper into the creation of the show, revealing Miranda's process of absorbing and then adapting Hamilton's epic story into groundbreaking musical theater. Further fleshing out the story is newly shot footage of the New York production with its original cast, trips to historic locations such as Mt. Vernon and Valley Forge with Miranda and other cast members, and a surprising range of interviews with prominent personalities, experts, politicians, and musicians."[164] The film featured interviews with American historians and Hamilton authorities Ron Chernow and Joanne B. Freeman.[165]

text: Hamilton: The Exhibition

text: Hamilton: The Exhibition is a planned traveling interactive museum, which will focus on the history concerning the life of Alexander Hamilton and also the musical.[166] It is to debut in Chicago in November 2018.[167]

text: 2016 Vice President–elect Pence controversy

text: Following a performance on November 18, 2016, with Vice President-elect Mike Pence in the audience, Brandon Victor Dixon addressed Pence from the stage with a statement jointly written by the cast, show creator Lin-Manuel Miranda and producer Jeffrey Seller.[168] Dixon began by quieting the audience, and stated:

text: Vice President-elect Pence, we welcome you and we truly thank you for joining us here at Hamilton: An American Musical, we really do. We, sir,—we—are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents, or defend us and uphold our inalienable rights, sir. But we truly hope that this show has inspired you to uphold our American values and to work on behalf of all of us. All of us. Again, we truly thank you truly for seeing this show, this wonderful American story told by a diverse group of men and women of different colors, creeds and orientations.[168]

text: Pence listened to the expression of concern about President-elect Donald Trump's upcoming administration and later expressed that he was not offended.[169] However, Trump demanded an apology[170] for what he described, on Twitter, as the cast having "harassed" Pence.[171] This led to an online campaign called "#BoycottHamilton", which became widely mocked as the show was already sold-out months in advance.[172] Trump was criticized by The Washington Post, who noted the division between white and non-white America in the 2016 Presidential election and suggested Trump could have offered "assurances that he would be a president for all Americans—that he would respect everybody regardless of race or gender or creed";[173] instead, as Presidential historian Robert Dallek expressed, Trump's Twitter response was a "striking act of divisiveness by an incoming president struggling to heal the nation after a bitter election",[173] with the Hamilton cast a proxy for those fearful of Trump's policies and rhetoric. Jeffrey Seller, the show's lead producer, said that while Trump has not seen Hamilton or inquired about tickets, he is "welcome to attend".[174]

text: Parodies

text: In April 2016, Jeb! The Musical, subtitled An American Disappointment, appeared on the Internet with Jeb Bush in the place of Alexander Hamilton,[175][176] with political figures like Donald Trump and Chris Christie holding supporting roles.[177] A staged reading, given "just as much preparation as Jeb's campaign", was staged at Northwestern University in June of that year.[178] The parody was crowdsourced, with contributions coming from a range of writers. A number of writers were drawn from Yale University, Boston University, McGill University and the University of Michigan. These writers met in a Facebook group named "Post Aesthetics".[179]

text: In 2016, Gerard Alessandrini, creator of Forbidden Broadway, wrote the revue Spamilton, which premiered at the Triad Theater in New York and also played at the Royal George Theatre in Chicago. It parodies Hamilton and other Broadway shows and caricatures various Broadway stars.[180][181]

text: On October 12, 2016, the American sitcom Modern Family released the episode "Weathering Heights". The episode features a scene where Manny applies for college. To do so he records a parody of "Alexander Hamilton" as part of his application, complete with rewritten lyrics to accompany to his own life. It is revealed that most of the other applications are also Hamilton parodies.[182]

text: Film adaptation

text: On February 14, 2017, Miranda confirmed that a film adaptation of Hamilton will happen, but stated, "Who knows when?".[183]


document_title: Sana Dalawa ang Puso

question_text: who is playing rachel in sana dalawa ang puso

text: Sana Dalawa ang Puso

text: Plot[edit]

text: Sana Dalawa ang Puso follows the story of Mona Bulalayao and Lisa Laureano (both played by Jodi Sta. Maria), two different women with identical faces; both facing challenging ordeals in their lives.

text: Lisa is a strict and hardworking boss in the Laureano Group of Companies, her family’s business. Her world suddenly turns upside down when her father, Juancho Laureano (Christopher de Leon), betroths her to their rival’s son, Martin Co (Richard Yap). In avoid the arranged marriage, she hides with one of her workers, Leo Tabayoyong (Robin Padilla).

text: Her look-alike Mona, on the other hand, works as a bet collector in cockfights and is struggling to save her father, Ramon Bulalayao (Edgar Mortiz), from peril after the latter gets involved in a networking scam.

text: What will happen when the two cross paths? Will they be able to solve each other’s problems?

text: Cast[edit]

text: Main cast[edit]

text:
Jodi Sta. Maria as Ramona "Mona" Bulalayao Co / Elisabeth "Lisa" Laureano Tabayoyong
Richard Yap as Martin Co
Robin Padilla as Leonardo "Leo" Tabayoyong

text: Supporting cast[edit]

text:
Christopher de Leon as Juancho Laureano
Alma Moreno as Lena Bulalayao
Edgar Mortiz as Ramon Bulalayao
Boboy Garovillo as Miguel Co
Pinky Amador as Adele Laureano
Ylona Garcia as Tadhana "Tads" Tabayoyong
Nikki Valdez as Kimberly "Kim" Torres
Bayani Agbayani as Victory "Oyo" Domingo
Ryan Bang as Chot Jeon Jae
Kitkat as Libereta "Leb" Manatad
Miles Ocampo as Christina "Tinay" Tabayoyong
Elia Ilano as Tamarra "TamTam" Tabayoyong
Annali "Ali" Forbes as Theresa "Tisay" Tabayoyong
Markus Paterson as Patrick Sovichel
Henz Villaraiz as Carlos "Cocoy" Mendiola
Aliya Parcs as Rachel Sovichel
Carla Martinez as Teresa "Resa" Co
William Lorenzo as Jason Peter Chua

text: Extended Cast[edit]

text:
Ariel Ureta as Jacob
Pinky Marquez as Joana
Arlene Muhlach as Baby
Junjun Quintana as Steve
Kim Molina as Amy
Marc Acueza as Jason
Helga Krapf as Belle
Hannah Ledesma as Georgina
Hyubs Azarcon as Dongs
Gerard Acao as George
Kiray Celis as Anya
Angelo Ilagan as Ian
Heaven Peralejo as Sitti
Raine Salamante
Brace Arquiza
Ashley Colet
Jeremy Glinoga
Joaquin Reyes
Anna Vicente as Emily
CK Kieron as Ethan
Angelou Alayon
Via Antonio
Hiyasmin Neri
Luis Hontiveros
Alexander Diaz as Jacinto
Lito Pimentel

text: Guest Cast[edit]

text:
Evangeline Pascual
Simon Ibarra
Jojo Alejar
Lorenzo Mara as Arnel
Bea Rose Santiago
Cindy Miranda
Loren Burgos
Boom Labrusca as Marlon Fernandez
Paolo Paraiso as Anthony Falconia
Victor Silayan as Donnie Pamintuan

text: Special Participation[edit]

text:
Patrick Garcia as young Juancho
Jana Agoncillo as young Lisa and Mona
Leo Martinez as Mr. Supapi
Pilita Corrales as Leonora Chavez

text: Production[edit]

text: The writers for the series are Generiza Reyes-Francisco who wrote the hit primetime series The Legal Wife and Ceres Helga Barrios for hit comedy romance drama series Got to Believe of Kathryn Bernardo and Daniel Padilla.

text: Reception[edit]

text: The pilot episode of the show gained positive reception by the audience, as it not only trended no. 1 in the Philippines, but also in ratings with 19.9%, claiming the top spot in the daytime programming slot and the 7th spot in overall programming based on Kantar Media.

text:
Kantar Media National TV Ratings
(11:30AM PST)

Pilot Episode
Finale Episode
Peak
Average

19.9%
000000002018-01-29-0000January 29, 2018[2]
TBD
20.7%
000000002018-01-30-0000January 30, 2018 and 000000002018-01-31-0000January 31, 2018[3]
TBD


document_title: Because of Winn-Dixie (film)

question_text: who plays gloria dump in because of winn dixie

text: Because of Winn-Dixie (film)

text: Plot[edit]

text: 10-year-old India Opal Buloni has just moved to the fictional small town of Naomi, Florida with her father, a preacher.

text: While in the Winn-Dixie supermarket, she encounters a scruffy Berger Picard that is wreaking havoc.[2] Opal claims that it is her dog and names it "Winn-Dixie". Winn-Dixie becomes friends with everyone he encounters, and so she makes some new friends in the process. She also rekindles her relationship with her father, and learns ten things about her mother, who abandoned them seven years ago. Opal describes the preacher as a turtle, always sticking his head into his turtle shell, and never wanting to come out into the real world. This is most likely because of how sad he is about her mother, with whom he is still in love.

text: One of the people Opal meets is Miss Franny Block, a kind and somewhat eccentric elder librarian, who tells her many great stories, including one involving a bear. Opal also meets Gloria Dump, a blind recovering alcoholic with a tree in her backyard that has beer bottles hanging from it. She calls it a 'mistake tree' and the bottles represent the ghosts of all the things she has done wrong. One day, fed up with Winn-Dixie, the landlord of the Bulonis' trailer park, Mr. Alfred, orders the preacher to get rid of the dog. The preacher calls the animal pound to take Winn-Dixie away, but Opal begs her father to keep her dog. Unable to see his daughter this upset, the preacher tells the pound to return Winn-Dixie, claiming that he is not the same dog he called about.

text: Opal gets a job at Gertrude's Pets and befriends a worker there, Otis, a shy ex-convict with a passion for music. She also meets a girl named Sweetie Pie Thomas, who is eager to get a dog like Winn-Dixie. Later, a thunderstorm comes and Winn-Dixie, being pathologically afraid of thunderstorms, runs away. While Opal looks for him, her father wants to give up and she blames him for the loss of her mother and Winn-Dixie running away. But her father explains that he tried very hard to look for her mother. He then admits that he believes that she is never coming back. Later they go back to a party and Otis starts to sing a song on his guitar. Winn-Dixie is heard outside howling along to the song. Everyone, while singing, lets him in and welcomes him back.

text: Cast[edit]

text:
AnnaSophia Robb as India Opal Buloni
Jeff Daniels as "The Preacher", Opal's father, Mr. Buloni
Cicely Tyson as Gloria Dump
Luke Benward as Steven "Stevie" Dewberry
Dave Matthews as Otis
Eva Marie Saint as Ms. Franny Block
Courtney Jines as Amanda Wilkinson
BJ Hopper as Mr. Alfred
Nick Price as Dunlap Dewberry
Elle Fanning as Sweetie Pie Thomas
Harland Williams as Policeman
John McConnell as Store Manager
Becca Lish as Gertrude the Parrot
Lyco and Scott as Winn-Dixie[1]

text: Production[edit]

text: The movie based on the book was released in 2005. It was directed by Wayne Wang; produced by Trevor Albert, Walden Media, and Joan Singleton; distributed by 20th Century Fox; with music composed by Rachel Portman. It stars AnnaSophia Robb as India Opal Buloni, Jeff Daniels as "The Preacher", Opal's father, Mr. Buloni, Cicely Tyson as Gloria Dump, Luke Benward as Steven "Stevie" Dewberry, Dave Matthews as Otis, Eva Marie Saint as Ms. Franny Block, Courtney Jines as Amanda Wilkinson, BJ Hopper as Mr. Alfred, Nick Price as Dunlap Dewberry, Elle Fanning as Sweetie Pie Thomas, Harland Williams as Policeman, John McConnell as Store Manager, Becca Lish as Gertrude the Parrot, and two dogs, Lyco and Scott as Winn-Dixie.[1]

text: The film was shot on location in Napoleonville, Louisiana, USA. To make sure both dogs got on well with AnnaSophia Robb, who played Opal, she was brought in early to get acquainted with the dogs and give them treats. By the time shooting started, they considered her a "safe" area.[1] Winn-Dixie was played by multiple Picardy Shepherds, a rare breed from France. The DVD extra "Diamond in the Ruff" shows the two principal dogs, Scott and Lyco, but producer Trevor Albert mentions at 18:00 and 40:26 in the DVD feature commentary that, in all, four dogs were used. At 00:36 in AnnaSophia Robb's commentary "Meet Winn-Dixie" she mentions that the stunt dog Tasha jumped over the flour. The film's mouse was played by a rat. The choice was made carefully because while a mouse would have been preferable, rats are much easier to train.

text: Director Wayne Wang wanted to use Picardy Shepherds because he thought they looked similar to the depiction of Winn-Dixie on the book cover and would appear familiar to its readers. Dogs were brought from France when none were available in the U.S. (08:55 in the DVD commentary). The film, like the book, is set in Naomi, Florida, even though it was filmed in Louisiana. Consequently, the police car and uniform emblems depict the state of Florida rather than the state of Louisiana. The bunny that Ottis hands Opal (at around 56 mins) is a Netherlands Dwarf. They only get to be between 6 and 8 inches long. The last name of Opal and her dad, Buloni (mentioned in the dialog at 49:50 in the lunch meat joke), is shown on a sign to the left of the trailer door at 22:37 and elsewhere in the feature. In the scene from 10:45 to 11:03 where Winn-Dixie first arrives at the trailer, only the bottom edge of the sign is visible in the full frame version at 10:53 (when seen on a computer without "overscan" cropping) while in the wide screen version that edge is cropped from view.

text: This was Jeff Daniels and Harland Williams' second movie together; both had previously appeared in Dumb and Dumber (1994). The rat used for the beginning of the church scene is male, it then switches to being a female rat, and back again between shots. During the scene where the animals get loose, the same event is used twice. When Opal picks up the black and white rabbit to place in its pen, it is shown once as a close up of her [at 33:41 from behind] and once from a distance [at 33:58 frontal]. (This can be clearly seen in the full frame version, but not in the wide screen version at 33:41 where the wide screen cropping of the spherical 35 mm frames crop out the body of the rabbit. Consequently, it is a goof in re-mastering the full frame version from the spherical 35 mm negatives rather than a goof in the wide screen film. Of course, it could be argued that the rabbit got out again and needed to be put into the pen a second time.) In the scene where Opal brings Winn-Dixie into the church, when she gets up from her seat to get Winn-Dixie, there is a Bible and a purse on the chair beside her. After she returns from getting Winn-Dixie, there is somebody sitting in the seat beside her holding the Bible while the purse is on the floor between the two chairs. Opal's hair length varies throughout the movie, from a short blunt cut, to a longer, and uneven cut, and then back to short. When it starts raining, at the start of the garden party, all of the lights strung around start to flicker and go out. Except when you see everyone standing at the house, the lights to the right can be seen still on. Opal's hair changes from straight and flat to styled and blow-dried during the baseball game and party set-up scenes. The "mouse" Winn Dixie catches during the church service is a rat.

text: Soundtrack[edit]

text:
"Opal's Blues" – The Be Good Tanyas
"Won't Give In – The Finn Brothers
"Splish Splash" – Adam Schlesinger and James Iha
"Sunflower" – Alice Peacock
"The Clapping Song" – Shirley Ellis
String Quartet #17 ("Hunt")
"Butterfly" – Dave Matthews
"Sunrise" – Norah Jones
"Cabaret" – Emmylou Harris
"Glory Glory" – AnnaSophia Robb, Jeff Daniels, Cicely Tyson, Dave Matthews, Eva Marie Saint, Courtney Jines, Nick Price, Luke Benward, Elle Fanning and B.J. Hopper
"Glory Glory" – Patrinell Wright and Gloria Smith
"Someday Somehow (Have It All) – The Beu Sisters
"Fly" – Shawn Colvin
"Amazing Grace" – Rachel Portman

text: Release[edit]

text: The film was released in cinemas in the USA in January 26, 2005, and was released on DVD and VHS in August 9, 2005, by 20th Century Fox Home Entertainment.

text: Reception[edit]

text: The film received mixed reviews from critics. Rotten Tomatoes gives the film a score of 54% based on 119 reviews, with an average rating of 5.8/10. The site's consensus was: "An old-fashioned, if bland, adaptation of Kate DiCamillo's novel."[3] At Metacritic, the film holds a score of 54% based on 27 reviews, indicating "mixed or average reviews".[4]

text: Awards[edit]

text:
List of awards and nominations

Award
Category
Nominee
Result

Young Artist Awards 2006 – Young Artist Award
Best Performance in a Feature Film (Comedy or Drama) – Leading Young Actress – Best Family Feature Film – Comedy or Musical
AnnaSophia Robb
Nominated


document_title: The Secret of Moonacre

question_text: who plays loveday in the secret of moonacre

text: The Secret of Moonacre

text: Plot[edit]

text:
The film begins with Maria Merryweather after her parents pass away. Her father leaves her the only thing he has left, "The Ancient Chronicles of Moonacre Valley".
The book tells how the Moonacre Valley was cursed by the "Moon Princess", after two families fought over her "Moon Pearls".

text: Sir Benjamin, Maria’s estranged uncle, invites her and her governess, Miss Heliotrope, to live in Moonacre Manor.

text: When she arrives, Sir Benjamin confiscates the book and tells her to stay away from the forest, and the de Noirs, the rival family in Moonacre Valley.

text: Maria is surprised by the magic in the dilapidated manor: such as food and clothes, which appear out of nowhere; pianos that play themselves; glittering stars on the ceiling; and, a Black Lion and Unicorn, which protect her and the Moon Princess.

text: Maria and Robin, de Noir’s youngest son, find the Moon Princess’ secret grotto.

text: But there is little time if Maria is going to stop the curse, which de Noirs' daughter admits she tried before and failed to do herself.

text: Cast[edit]

text: Order of Appearance

text:
Dakota Blue Richards as Maria Merryweather/The Little Moon Princess
Juliet Stevenson as Miss Heliotrope
Augustus Prew as Robin de Noir
Michael Webber as Digweed
Ioan Gruffudd as Sir Benjamin Merryweather / Sir Wrolf Merryweather
Tim Curry as Coeur de Noir / Sir William de Noir
Andy Linden as Marmaduke Scarlet
Natascha McElhone as Loveday de Noir/The Moon Princess

text: Production[edit]

text: In pre-production it was decided the film needed a different title from the book. An internet poll was run, giving fans of the book a chance to vote for their preferred title: The Moon Princess or The Secret of Moonacre. The Secret of Moonacre won.

text: Filming started on 1 October 2007, and took place between Hungary and London. The director Gábor Csupó chose Schossberger Castle (hu) to "embody" the Moonacre mansion.

text: Notes[edit]

text:
^ Jump up to: a b c d e "The Secret of Moonacre (2009)". British Film Institute. Retrieved 1 December 2016.

Jump up ^ "The Secret of Moonacre (2009)". Box Office Mojo. Retrieved 11 July 2011.

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